RES (Raul Stolkiner); Gonzalez, Valeria; Sylveira, Danila & Otero, Veronica (Contributors)RES: LA VERDAD INUTIL ("THE USELESS TRUTH") : THE DELUXE EDITION - Rare Pristine Copy of The Deluxe Clamshell Box Edition With Original Color Print - ONLY COPY ONLINE Buenos Aires, Argentina: La Marca Editora, 2006 - 1st Printing. Signed. 208 pages. Published in 2006. Retrospective collection of photographs, presented as an Artist Book. The single most important and comprehensive book on the photographic art of RES. Deluxe Clamshell Box Edition of 100 Roman Numeral-numbered and signed copies. Precedes and should not be confused with all other subsequent editions, of which there are four, particularly the regular trade Hardcover and Softcover Editions. The Deluxe Edition is now rare. A brilliant production by RES: Oversize-volume format. Black cloth boards with titles embossed on cover and spine, as issued. Photographs and photo-tableaux by RES. Essays by various contributors. 8 X 10 inch original color print, "Las piernas de Crista" ("Crista's Legs"), encased in its own glassine sheet and laid into the book. The print is magnificent, not a "throwaway", as too many prints of Limited Editions are. Matching black cloth clamshell box. Printed on pristine-white, thick glossy stock paper in Buenos Aires to the highest standards. In pictorial DJ with titles on the cover and spine, as issued. Presents, in the ultimate Deluxe Edition collectible format, the cerebral photographic art of the artist known simply as RES (his real name is Raul Stolkiner). The book marks the very first time that RES's remarkable body of work is presented in its entirety in book form, nine sequences in all that are preceded by illuminating critical texts (the work that RES produced during his prolonged stay in Mexico was destroyed under mysterious circumstances, and prompted his permanent return to his native Argentina). Like many of the most ambitious and enormously talented artists of Latin America, RES is a natural-born aesthete who is also a committed social/political thinker. RES believes in political art. But he also believes that the conventional conception of political art in the Western/Latin-American tradition wrongly elevated politics at the expense of art when it should have been the other way around: Art is enhanced and enlarged by politics. Art is, by definition, autonomous, therefore "useless". The only way art can become "useful" is for the artist and audience to regard it as a model of thought. Thought is the beginning (and ongoing basis) of genuine action, including politics. A revered cult figure in Argentina, RES is one of the most intelligent and imaginative living artist/photographers. His work can only be described as reflective and intellectual, without losing any of art's sensuous qualities. It will reward repeated and immersive viewings. Being exposed to, understanding, and appreciating his work is one of the life-changing experiences a student/lover of art photography will have. An absolute "must-have" title for RES collectors. This is a copy of the Deluxe Clamshell Box Edition of 100 Roman Numeral-numbered copies, indicated/numbered as such in black pen on the Front Limitation Page by the artist/photographer himself: "XXX/C" [30/100]. It is also very boldly and beautifully signed in the same black pen by RES. Laid-in is an 8 X 10 inch original color print of "Las piernas de Crista" ("Crista's Legs"), also number-stamped ("XXX/C") and very boldly and beautifully signed in black pen on verso by RES. It is also very prominently and beautifully signed in black ink-pen by the model. "Crista's Legs" provocatively re-imagines the Crucifixion as Woman (Crista instead of Cristo/Jesus Christ), and is a masterly example of the post-humanist universality that RES's photographic art ultimately represents. As far as we know, this is the only copy of the Deluxe Edition available online and is in especially fine condition: Clean, crisp, and bright, a pristine beauty. A rare signed copy thus. Lavishly illustrated with color plates. One of the most brilliant living artist/photographers. A fine collectible copy. (SEE ALSO OTHER RES TITLE IN OUR CATALOG) [Attributes: First Edition; Signed Copy; Hard Cover]

GUSTAFSON, MatsDeer New York: JMc & GHB Editions, (2006). Fine in blindstamped beige quarter crushed white morocco boards with matching tips, housed in a matching quarter crushed white morocco slipcase.. Deluxe Edition. Folio. Number 1 of 10 SIGNED and numbered copies, of a total edition of 510. Features an original watercolor painting, signed and dated by Gustafson. Consists of 15 reproductions of the artist's ethereal watercolors of deer and trees. Published in conjunction with an exhibition at John McWhinnie, New York, November 30, 2006 - January 15, 2007.

(GRANNIS, LEROY). Grannis, Leroy, Jim Heimann & Steve BarilottiLEROY GRANNIS: SURF PHOTOGRAPHY OF THE 1960S AND 1970S - DELUXE SIGNED, LIMITED COLLECTOR'S EDITION (GRANNIS, LEROY). Grannis, Leroy, Jim Heimann & Steve Barilotti. LEROY GRANNIS: SURF PHOTOGRAPHY OF THE 1960S AND 1970S - DELUXE SIGNED, LIMITED COLLECTOR'S EDITION. Signed and Numbered by the Photographer. Koln, GERMANY: Benedikt Taschen Verlag, 2006. First Edition 1/1000 Deluxe. Oblong Folio. Cloth in Dust Jacket, Boxed. Photography Monograph. As New/As New. 278pp, profusely illustrated in color and b&w. Text in English, German and French. Limited to one thousand copies, this signed and numbered first edition of Taschen's amazing Leroy Grannis tome is more than likely the most lavish surf photography book produced to date. "This collection, drawn from Grannis' personal archives, showcases an impressive selection of surf photographs-from the bliss of catching the perfect wave at San Onofre to dramatic wipeouts at Oahu's famed North Shore. An innovator in the field, Grannis suction-cupped a waterproof box to his board, enabling him to change film in the water and stay closer to the action than other photographers of the time. Equally notable is his work covering an emerging surf lifestyle, from surfer stomps and hordes of fans at surf contests to board-laden woody station wagons along the Pacific Coast Highway. It is in these iconic images that a sport still in its adolescence embodied the free-spirited nature of an era-a time before shortboards and celebrity endorsements, when surfing was at its bronzed best". Sold out long before publication, it lovingly reveals the kinder and gentler California surf scene of over a quarter century ago in hundreds of vintage images taken by one of the pioneers of the field. Mickey Dora, Greg Noll, Dewey Weber - they're all here! A brand new, pristine example NUMBERED AND SIGNED by Leroy Grannis still shrinkwrapped in the publisher's printed shipping carton, as issued. PLEASE NOTE: Additional shipping costs are required for this item beyond our standard rates due to its weight and value - we will inform you of the applicable amount at time of purchase. 3-8228-5069-1 Inventory Number: 023852

[Deer's Run Press] Curt DornbergSeeds of Discovery: II A Fable Tucson, Arizona:: Deer's Run Press,, 2006.. Edition of 25. 11 x 7.5"; 8 pages (unpaginated). Double-sided accordion. Printed in 14 pt Papyrus with the Epson 2200 on Somerset Velvet paper over pigment inkjet prints by Margaret Suchland of monotypes with collages of desert seeds and seed pods. Handwork in colored crayon and pencil. Bound in an accordion format with covers and wraparound case of Moriki papers over board. Housed in tri-fold paper covered boards with vertical paper title on front board. In this version of the two books the original Seeds of Discovery are combined so that text and image interweave. Suchland's vibrant images animate Dornberg's organic fable.

[Deer&#39;s Run Press] Curt DornbergSeeds of Discovery: II Tucson, Arizona:: Deer&#39;s Run Press,, 2006.. Edition of 25. 11 x 7.5"; 8 pages (unpaginated). Double-sided accordion. Printed in 14 pt Papyrus with the Epson 2200 on Somerset Velvet paper over pigment inkjet prints by Margaret Suchland of monotypes with collages of desert seeds and seed pods. Handwork in colored crayon and pencil. Bound in an accordion format with covers and wraparound case of Moriki papers over board. Housed in tri-fold paper covered boards with vertical paper title on front board. In this version of the two books the original Seeds of Discovery are combined so that text and image interweave. Suchland&#39;s vibrant images animate Dornberg&#39;s organic fable.

GARLAND, Judy (MARRIAGE PROPOSAL).Autograph Letter - (not signed) on small leaf. Approximately 5 1/8" x 6 3/4", 2 pages (1 left recto and verso). Very good, fresh (minor signs of handling). $2,000.00 A love letter proposing marriage to John Carlyle. In part: "My darling.you must accept my love.make it keep you warm.you are my King." For details of Garland's relationship with John Carlyle see his book "Under the Rainbow" published in 2006. Provenance: from the estates of John Carlyle.

CHEN JIAN WEI 20052006 ZHONG GUO JIAN ZHU SHE JI ZUO PIN NIAN JIAN ZHONG GUO JIAN ZHU SHE JI ZUO PIN NIAN JIAN BIAN WEI HUIChina Architecture Design works Yearbook(Chinese Edition) ZHONG GUO JIAN ZHU SHE JI ZUO PIN NIAN JIAN Heilongjiang Science and Technology Press. hardcover. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.HardCover. Pub Date: Since 2006 08 Pages: 566 in Publisher: Heilongjiang Science and Technology Publishing House of China Architectural Design Works Yearbook (hereinafter referred to as the Yearbook ) the first time in 2005. edited and published by the provincial and municipal construction authorities and attention of readers. some units and readers for further improvement. and improve the content of the Yearbook. put forward many valuable comments and suggestions. On the basis of these comme... Satisfaction guaranteed,or money back.

Perishable Press. Hamady, WalterHunkering, the Last Gabberjabb Number Eight and IX/XVIths or Aleatory Annexations Mt. Horeb, WI: The Perishable Press. 2006. One of 108 copies on various papers (hand, mould, machine-made and even crush or mull) numbered (nine times) and signed by the author / publisher / designer / printer, Walter Hamady as well as "augmenters" eight times. Page size: 10-1/8 x 7 inches; 160pp. Bound: brown cloth over boards with rondel / cameo in dark blue in middle of binding with silhouette of Hamady within triple-ruled frame containing author's name and The Perishable Press Ltd., marbled endpapers, new. An extraordinary book, the sub-title "Aleatory Annexations" more than a clue to its nature (aleatory as pertaining to the chance writing of the surrealists) The front "blank" is a base map (different in each copy) from the U.S. Geological Survey Sheets with a poem by Ruth Evans (Hamady's grandmother) printed on the verso with blind stamp copyright notice centered at bottom of page; title (eight titles listed as follows) on p. [iv] reading "HUNKERING" in red followed by "Largely by Walter Samuel Haatoum Hamady / augmented by Henrik Drescher. Patrick Flynn. David McLimans. Peter Sis and William Stafford. The Last Gabberjabb number eight and IX/XVIths or Aleatory Annexations or Odd Bondings or Fortuitous Encounters with Incompatible Realities or Love, Anguish, Wonder: an Engagement or a Partial Timeline of Sorts or Bait and Switch or Finally, A Pedagogical Rememberance." The drawing on title page number one is a pointillist ink drawing by Peter Sis. Another title page (double page spread) featuring a print in teal blue above a figure/ground drawing printed in brown on the verso with the text printed in brown on tan paper on the recto above the other half of the image printed in teal on celadon paper, image by David McLimans. (Actually, the image is repeated on pp. x-xi in the reverse coloring juxtaposition.) The header reads, "Hunkering The Last Gabberjabb No 8 9/16 / Being the Fade-out Volume of an (Unforeseen) Series." Below a red rule at the bottom of the page is text reading, "Begun in 19-Seventy - 3 by WSHH & (TH) PRSHBLPRSS LMTD As An Expendation of Energy for the Sake of Expending (It) Copyright on 436 by PS.3558A42." There are words picked from the poem, "The Asshole & the Earthworm," in this drawing which was to illustrate the entire poem (but ran out of room) and is noted as partial homage to Charles Darwin owing "to his book concerning earthworms which, it is said, has never been superseded." P. 13 is labeled, "Things in the Front Matter of Books According to the 288" and includes, printed in 8pt. along the fore-edge, below a curved red scribed rule: "usually the reader is not shown any of the arcane/inside aspects of the bookmaker's craft for self-effacemental reasons. This is an exception to point out the subduing of fore-edge swell." There are two curved rules top and bottom of "Major Rivers of the World" center spread, as well as a red scribed line. There is a third title page in shorthand by Anna Hamady calligraphed by Linda Hancock and it faces the eight titles calli/drawn by Henrik Drescher who also did the copyright symbol printed under the shorthand. And this is only the first signature!There were numerous press-runs - at least 284 - to make this book, as well as applications of the following procedures: collage (six times), perforation, rubberstamping (18 times), drilling, notching, ticket punching, numbering (nine times), signing, grommeting, scribing (40 times), ear-tattooing, ponce-wheeling, time-clocking 12 times), dog- earing, embossing, shorthand, corner-rounding. There are elliptical trims and three stubs.There is much about seeing; Paul Valery's memorable quote, "To see is to forget the name of the thing one sees." is cited and is the title of a triple-page fold out, a panorama collage. I particularly like the "Senor Wences" fist face appearing under the text: "1964 (4) FORTY (40) YEARS 2004 / The Perishable Press Limited has / Been using Weapons of Mass/ 'construction." A 1963 (rubberstamp correction here) self- portrait in pencil of the author was scanned and printed on a recto sheet. On the verso is printed an eye from Traite d'Anatomie Humaine, and it is in register with the eye of the self-portrait. The center page double spread, consisting of an incredible number of overprints and type displays, features a double-rimmed circle with the word "proof" in the center. In the second "o" of proof is another eye. The reader / viewer will understand something new each time this book is opened. It is astonishing. There is a paragraph about text and printing and letters and space that is dazzlingly simple and simply dazzling. The last image consists of the same two three-page fold out panorama collages (6 pages total) by Hamady that appeared in JUXTAMORPHING SPACE, exhibition catalogue and bibliography. The last signature includes all the footnotes from all the previous Gabberjabbs and these footnotes are hand-set in six point - Clarendon for five of the six pages and the sixth in Sabon. Four pages were printed from Polymer plates with scale changes and the two pages in the center spread were printed directly from the hand-set type. The book is a very wonderful cap to a legendary series. Selected by the AIGA as one of the 50 best designed books of the year. See an Image.

Rouanet, MarieMAGIE BLANCHE (Octon): Verdigris, 2006. loose sheets housed in a clamshell box. Verdigris. folio. loose sheets housed in a clamshell box. not paginated. Limited to an edition of thirty, of which twenty-five were for sale. Marie Rouanet&#39;s text was inspired by ten mezzotints (eleven plates) by Judith Rothchild and the spirit of the restaurant, The Mimosa, created by Bridget and David Pugh. The book is comprised of a suite of prints and text in loose sheets of Hahnemuhle paper. The text was printed letterpress on an Albion press by Mark Lintott. The boxes are covered in Fabriano Ingres screenprinted with mimosa leaves. The colophon is signed by the author and artist and the prints are initialed by the artist.

Sidelinger, StephenSelected Twentieth Century French Poetry Los Angeles, California:: Stephen Sidelinger,, 2006.. One-of-a-Kind. 11 x 9"; 106 pages. Ink on paper. Varying styles of calligraphy and illustration. Bound in black velvet with paper onlay. Housed in 11.25 x 9.25" box covered in gray moiré with paper onlay. Thirty poems from selected 20th-century French poets, presented here in English. Drawn from The Random House Book of Twentieth-Century French Poetry (1982) edited by Paul Auster and with translations by British and American poets. Each poem in a distinctive calligraphic style and matched with Sidelinger&#39;s idiosyncratic art.

[ravenpress] Heidi Zednickalphabet of desire Lake City, Colorado:: ravenpress,, 2006.. Edition of 26. 6.75 x 6.75"; 26 pages. Over the edition, the layout of the book is consistent yet each print is unique. Text laserprinted on Arches watercolor paper. All images painted on an open screen with water based acrylic inks, then hand pulled for each of the four colors, allowing artistic variation within the edition. Bound drum leaf style. Spine is goat skin and Moriki hand embossed with letters of the alphabet. Covers are mono-screenprinted with embossed alphabet on Rives BFK. Cover board edges wrapped with Moriki, endpapers handmade by Katie MacGregor, page edges treated with blue pigmented wax. Label is foil printed Goatskin. This book is an extended love poem in the form of an abecedary. The illustrations are abstract expressions of the text. The text not only chronicles the celebration of a relationship but expresses a wish to not forget and to remain attentive to love.

Hazelwood, ArtPulcinella in Hades San Francisco:: Eastside Editions,, 2006.. Edition of 20. 16.5 x 13" closed, opens to over 8 feet; 10 pages. Vertical accordion fold with loop for hanging and removable spine. Eight feet of continuous four-color sugar lift and spit-bite aquatint etchings printed on Hahnemühle Copperplate paper. Marginalia printed letterpress from handwritten text. Includes booklet with linocut print covers, elucidating the marginalia. Art Hazelwood: "Pulcinella in Hades is a decent into Hades in the form of an eight foot tall accordion book. The borders of Pulcinella in Hades contains marginalia texts by historical authors, written in longhand by 17 contributors. The text refers to the underworld from different writings. Pulcinella from the Commedia dell'Arte is here a stand in for Orpheus or Christ in a comic harrowing of hell… "The idea of a comedy in Hades hit me when I heard an excerpt from the comic opera Orpheus in the Underworld. Why an underworld journey should be treated as a comedy can perhaps best be explained by the tremendous amount of literature to back up the view that Hell is a merry place. Comic journeys to Hell and Hades are long standing traditions. Comedy goes to Hell…. "Seventeen people were asked to write in their own hand the literary marginalia selected to accompany the text. Many complained that their handwriting is terrible. Many were correct. " Art Hazelwood, Marginal Note on Marginalia: "In the Middle Ages written texts came in the form of manuscripts, and marginalia were an important component of the process of textual transmission. It was accepted that readers would add comments, notes and even drawings to illustrate and comment on what they were reading. In some cases, the marginalia in medieval manuscripts overwhelm the main text….Perhaps the greatest instance of marginalia gone mad is the Renaissance French philosopher Michel de Montaigne, who published an edition of his famous Essays in 1580, then went back and added comments and reflections, which he integrated into the main body of his text when he republished the book in 1588. A later edition repeated the same process. So, for Montaigne we can say that his book was literally made up out of its own marginalia.… In most early printed books there were few indexes, so marginal notes were often printed right in the text which alluded to certain sources or outlined in abbreviated form what the main text was saying. Indeed, no reader of early books can fail to be struck by the delightful marginal ciphers, comments, and drawn hands with pointing fingers used to call attention to certain important passages. Through the study of marginalia we can draw closest to the thoughts of readers from earlier ages ?- perhaps even more than through the study of the books themselves.… The margins are the place where the reader speaks back to the text, where alternative ways of thinking spring up around the language of 'official' knowledge.

TYLER, AnneDigging to America London: Vintage Books. (2006). First. First English edition, the author's copy. Fine, specially bound for Tyler in three-quarter matte black calf and handmade paper over boards (the trade issue was softcover), decorated in blind with "Orange Broadband Prize for Fiction 2008" on the edge of the front board. The author's own copy, prepared by Christine Cleaton at The Hay Binders on the occasion of the book being short-listed for the prize. With a signed letter from Cleaton detailing the history and nature of the binding. As the book bears no dedication, this is likely the best possible copy of this issue. .

O'Brien, DonalA Monster Salmon from the Fishing Log of ? [Cambridge, Mass]: Privately printed by Charles B. Wood III [at the Ascensius Press], 2006. First edition, large paper issue, Number XV of 25 numbered copies printed on handmade Velké Losiny Prague paper, specially bound. Frontispiece tipped in. 14, [2] pp. 1 vols. 8vo. Light blue wrappers and brick endleaves, sewn. As New, housed in a custom half-morocco folding box by Gray Parrot with a mounted no. 6 Green Stone Fly tied by river guide Stan Harrison, whose fly caught the fish in the story. Deluxe Issue, with Hand-Tied Fly Account of how O'Brien, for many years the chairman of the Atlantic Salmon Federation, caught and released a 50-pound salmon on the Grand Cascapedia river at the end of July 2004, with reflections on the measurement of salmon, and the author's earlier catch of a 47-pound salmon on the same river in 1982. A beautifully designed production for an essay of enduring interest, with a hand-tied fly by Grand Cascapedia River guide Stan Harrison.

TYLER, AnneDigging to America London: Vintage Books. (2006). First. First English edition, the author's copy. Fine, specially bound for Tyler in three-quarter matte black calf and handmade paper over boards (the trade issue was softcover), decorated in blind with "Orange Broadband Prize for Fiction 2008" on the edge of the front board. The author's own copy, prepared by Christine Cleaton at The Hay Binders on the occasion of the book being short-listed for the prize. With a signed letter from Cleaton detailing the history and nature of the binding. As the book bears no dedication, this is likely the best possible copy of this issue. .

Rouanet, MarieMAGIE BLANCHE (Octon): Verdigris, 2006. loose sheets housed in a clamshell box. Verdigris. folio. loose sheets housed in a clamshell box. not paginated. Limited to an edition of thirty, of which twenty-five were for sale. Marie Rouanet's text was inspired by ten mezzotints (eleven plates) by Judith Rothchild and the spirit of the restaurant, The Mimosa, created by Bridget and David Pugh. The book is comprised of a suite of prints and text in loose sheets of Hahnemuhle paper. The text was printed letterpress on an Albion press by Mark Lintott. The boxes are covered in Fabriano Ingres screenprinted with mimosa leaves. The colophon is signed by the author and artist and the prints are initialed by the artist.

JOHNS, Jasper, VARNEDOE, Kirk, BERNSTEIN, RobertaJasper Johns: A Retrospective (Second edition) [SIGNED with drawing] The Museum of Modern Art, New York 2006 - 1996/2006. Second edition. Signed in black ink, dated '96-'06, and with a drawing of a flag in black ink on the title page by Johns. Hardcover. Fine gray cloth-covered boards with title stamped in gray on cover and spine; with photographically illustrated dust jacket. Paintings, prints and sculpture by Jasper Johns. Text by Kirk Varnedoe and Roberta Bernstein. Includes notes to the chronology, a selected bibliography and an index to the illustrations. 408 pp. (with three 2-page gatefolds), with 275 four-color and 207 black-and-white illustrations. 12-1/4 x 9-1/4 inches. Originally published on the occasion of a major retrospective exhibition at the Museum of Modern Art, New York. As New in As New dust jacket. A Mint copy. One of the most important artists of the 20th century, Johns' prodigious output is well-represented in this exhibition catalogue. A rare, signed copy with an original drawing by Johns. Signed by Author. [Attributes: Signed Copy; Hard Cover]

LEIBOVITZ, AnnieBuilding the Times by Annie Leibovitz (Limited Ed.: 1 large b&w image from the photo/posters) New York Times 2005 2006 - This is one original image from the large size b&w photographic/posters by Annie Leibovitz; photographs were taken between July 2005 and July 2006, and were displayed outside The New York Times Building construction site in Dec. 2005, titled: "Building the Times"; limited to 9 or 10 images each that where printed from the total of 83 b&w images that were displayed of various sizes; paper size: 48-1/2 x 31-1/2in; image size: 46-1/2 x 30in; printed on a thick paper-cloth (washable). Annie Leibovitz started documenting (around Dec.2005) the construction of the 52-story, Renzo Piano-designed steel and glass tower with hundreds of arresting images, 83 of which were displayed on the wooden walls constructed around the site on 8th Ave. between 40th & 41st St. on the pedestrian street-level. These walls were covered with 802 b&w photos of varying sizes (the original 83 images where duplicated around the wall), and arranged in a series of posters that stretch 164 ft across the entire block on the east side of 8th Ave. between W. 40th & 41st St, over 300 ft. down W.40th St. and nearly 450 ft. down 41st St. As the building was being completed in 2007 they were removed and today are in varying condition being exposed for 2 years to the outdoor elements. CONDITION: right part of white border trimmed, right side has approx. a 7in repaired tear; the left side has approx. a 4in repaired tear; with some dried glue marks on back; also tiny faint invisible dents from the back side's dried glue showing thru out the front image and some of them have turned a little rusty brown but not distracting from it, otherwise in GOOD COND. [Attributes: First Edition]

FRANKLIN, BenjaminThe Memoirs of Benjamin Franklin 2006. FRANKLIN, Benjamin. The Memoirs of Benjamin Franklin. 188 pp. Illustrated with frontispiece portrait of the author. 8vo., bound in publisher&#39;s full brown morocco. Printed on all-cotton fiber English mouldmade paper. San Francisco: Arion Press, 2006.Limited Edition of 400 copies produced to celebrate the tercentenary of Franklin&#39;s birth. While this work is commonly known to today&#39;s readers as the Autobiography, Franklin used the term Memoirs in reference to his own writing, hence the above title. It was printed using Aiken, a new digital typeface designed by Andrew Hoyem, Linnea Lundquist, and Andrew Crewdson.Aiken is based on what is believed to be the first American typeface, and is named after the Philadelphia printer Robert Aitken, known as the printer of the American Revolution, and his daughter, printer Jane Aitken. Unlike many recent editions of this work, Arion Press&#39;s version regularizes the spelling, capitalization, and punctuation, as Franklin would have expected of a printer of his time. The work is accompanied by a keepsake booklet that details the humorous bibliophilic mystery of the recovery of the lost original manuscript in Paris, 1867. As new.

Setterfield, DianeThe thirteenth tale London : Orion 2006 - Physical description: 408 p. ; 24 cm. Subjects: Women authors - Fiction. Summary: Vida Winter, a bestselling yet reclusive novelist, has created many outlandish life histories for herself, all of them invention. Now old and ailing, at last she wants to tell the truth about her extraordinary life. Fine copy in a gilt-blocked full maroon leather binding. In an equally fine matching gilt-titled slipcase. Limited edition of 25 copies, of which this is no. 16, SIGNED by the author. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. 1 Kg. 408 pp. [Attributes: Signed Copy; Hard Cover]

ESHLEMAN, ClaytonA Shade of Paden Hopewell: Pied Oxen Printers. 2006. A long poem by Eshleman in memory of his longtime close friend, the artist Bill Paden, who died in 2004. Of a total edition of 50 copies, this is one of 15 numbered copies reserved for the poet and the printer, David Sellers. Signed by Eshleman and Sellers. With a Hanga woodcut frontispiece signed by Bill Paden and numbered as one of 100 copies but according to the colophon, no more than 30 were completed before Paden's death. A fine copy. First Edition. Hardcover.